A new pragmatist philosophy of science that conceives truth and reality as operational ideals achievable in actual scientific practice.

In this innovative book, Hasok Chang constructs a philosophy of science for 'realistic people' interested in understanding and promoting the actual practices of inquiry in science and other knowledge-focused areas of life. Inspired by pragmatist philosophy, he reconceives the very notions of reality and truth on the basis of his concept of the 'operational coherence' of epistemic activities, and offers new pragmatist conceptions of truth and reality as operational ideals achievable in actual scientific practice. Rejecting the version of scientific realism that is concerned with claiming that our theories correspond to an ultimate reality, he proposes instead an 'activist realism': a commitment to do all that we can actually do to improve our knowledge of realities. His book will appeal to scholars and students in philosophy, science and the history of science, and all who are concerned about the place of science and empirical truth in society.

Is what we have reason to do a matter of fact? If so, what kind of truth is involved, how can we know it, and how do reasons motivate and explain action? In this concise and lucid book T.M. Scanlon offers answers, with a qualified defence of normative cognitivism - the view that there are normative truths about reasons for action.

What is temperature, and how can we measure it correctly? These may seem like simple questions, but the most renowned scientists struggled with them throughout the 18th and 19th centuries. In Inventing Temperature, Chang examines how scientists first created thermometers; how they measured temperature beyond the reach of standard thermometers; and how they managed to assess the reliability and accuracy of these instruments without a circular reliance on the instruments themselves. In a discussion that brings together the history of science with the philosophy of science, Chang presents the simple eet challenging epistemic and technical questions about these instruments, and the complex web of abstract philosophical issues surrounding them. Chang's book shows that many items of knowledge that we take for granted now are in fact spectacular achievements, obtained only after a great deal of innovative thinking, painstaking experiments, bold conjectures, and controversy. Lurking behind these achievements are some very important philosophical questions about how and when people accept the authority of science.

This book uses insights from the cognitive sciences to illuminate Kafka’s poetics, exemplifying a paradigm for literary studies in which cognitive-scientific insights are brought to bear directly on literary texts. The volume shows that the concept of "cognitive realism" can be a critically productive framework for exploring how textual evocations of cognition correspond to or diverge from cognitive realities, and how this may affect real readers. In particular, it argues that Kafka’s evocations of visual perception (including narrative perspective) and emotion can be understood as fundamentally enactive, and that in this sense they are "cognitively realistic". These cognitively realistic qualities are likely to establish a compellingly direct connection with the reader’s imagination, but because they contradict folk-psychological assumptions about how our minds work, they may also leave the reader unsettled. This is the first time a fully interdisciplinary research paradigm has been used to explore a single author’s fictional works in depth, opening up avenues for future research in cognitive literary science.

The realist theory of international relations is based on a particularly gloomy set of assumptions about universal human motives. Believing people to be essentially asocial, selfish, and untrustworthy, realism counsels a politics of distrust and competition in the international arena. What Moves Man subjects realism to a broad and deep critique. Freyberg-Inan argues, first, that realist psychology is incomplete and suffers from a pessimistic bias. Second, she explains how this bias systematically undermines both realist scholarship and efforts to promote international cooperation and peace. Third, she argues that realism's bias has a tendency to function as a self-fulfilling prophecy: it nurtures and promotes the very behaviors it assumes predominate human nature. Freyberg-Inan concludes by suggesting how a broader and more complex view of human motivation would deliver more complete explanations of international behavior, reduce the risk of bias, and better promote practical progress in the conduct of international affairs.

In a contemporary town in the American midwest where he has no connections, Bax, an educated man recently released from prison, is staying in a motel. He writes letters to his brother and to others, including a friend still in jail, to whom he progressively reveals the intriguing pieces of a strange and fantastic narrative. When he meets a real estate agent who tells him he is, to his utter surprise, the heir to a huge old house in town, long empty, he moves in. He is immediately confronted by an array of supernatural creatures and events, by love and danger. His life is utterly transformed and we read on, because we must know more. We revise our opinions of him, and of others, with each letter, piecing together more of the story as we go. We learn things about magic, and another world, and about the sorcerer Mr. Black, who originally inhabited the house. And then knowing what we now know only in the end, perhaps we read it again. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The human figure made a spectacular return in visual art and literature in the 1920s. Following modernism's withdrawal, nonobjective painting gave way to realistic depictions of the body and experimental literary techniques were abandoned for novels with powerfully individuated characters. But the celebrated return of the human in the interwar years was not as straightforward as it may seem. In Realism after Modernism, Devin Fore challenges the widely accepted view that this period represented a return to traditional realist representation and its humanist postulates. Interwar realism, he argues, did not reinstate its nineteenth-century predecessor but invoked realism as a strategy of mimicry that anticipates postmodernist pastiche. Through close readings of a series of works by German artists and writers of the period, Fore investigates five artistic devices that were central to interwar realism. He analyzes Bauhaus polymath László Moholy-Nagy's use of linear perspective; three industrial novels riven by the conflict between the temporality of capital and that of labor; Brecht's socialist realist plays, which explore new dramaturgical principles for depicting a collective subject; a memoir by Carl Einstein that oscillates between recollection and self-erasure; and the idiom of physiognomy in the photomontages of John Heartfield. Fore's readings reveal that each of these "rehumanized" works in fact calls into question the very categories of the human upon which realist figuration is based. Paradoxically, even as the human seemed to make a triumphal return in the culture of the interwar period, the definition of the human and the integrity of the body were becoming more tenuous than ever before. Interwar realism did not hearken back to earlier artistic modes but posited new and unfamiliar syntaxes of aesthetic encounter, revealing the emergence of a human subject quite unlike anything that had come before.

What makes a story a story? What is style? What’s the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for Ducklings—Wood takes the reader through the basic elements of the art, step by step. The result is nothing less than a philosophy of the novel—plainspoken, funny, blunt—in the traditions of E. M. Forster’s Aspects of the Novel and Strunk and White’s The Elements of Style. It sums up two decades of insight with wit and concision. It will change the way you read.